Page:Bryan's dictionary of painters and engravers, volume 1.djvu/455

 oy this artist, and are liarmonized with the figures with great intelligence. In the Belvedere at Vienna {3 the ' History of the Prodigal Son ' by him. He A'as received into the Guild of St. Luke at Ant- iverp in 1551. Hendrik van Cleef distinguished himself as an engraver. We have several plates by him of landscapes and views near Rome, after his own designs or those of Melchior Lorch, which he sometimeB signed Henricus Clivensis, fecit, and sometimes marked with the cipher "VJcy They are as follow :

A Bull-fight at Rome, beforf^ the Famese Palace. A Land.'sc.ipe. with Figurep in a Cave, cooking. Another Landscape, with Figures at Table in a Cave A set of six LamLscapes. with Latin titles. A set of four Views in the vicinity of Rome. There is a series of thirty-eight plates by this artist, entitled lixdnarum varii firospectus, ruri-vmque aliquot delineationes, published by Theodorus Galle. He died at Antwerp in 1589. His son, Hen'drik van Cleef, who was born at Antwerp, settled about 1597 at Ghent, where he was much esteemed, but his works are now con- founded with those of his father. He died at Ghent in 1646.

CLEEF, Jan van, a painter of the Flemish school, was born at Venloo in Guelderland in 1646. After receiving some instruction from PrimoGentil, he entered the school of Gaspar De Craeyer, at Brussels. Under that artist young Van Cleef made surprising progress, and in a few years was able to assist his master in the immense number of works on which he was engaged for tne churches in the Low Countries. On the death of De Craeyer, Van Cleef was entrusted with the com- pletion of the works left unfinished by his master. He was now considered one of the ablest artists of his country, and immediately received many cora- niissions for the churches and convents, in wnich he has given satisfactorj- proof of the respectability of his talents. Without being an imitator of De Craeyer, he followed the same simple purity of colour, and was equally correct in his design, in which he displaj-ed something of an Italian style. His great practice gave him an uncommon facility, and his compositions are distinguished bj* judgment and taste. His works are very numerous in Flanders and Brabant ; the most esteemed of them are at Ghent. In the church of St. Nicholas is a fine picture of ' The Magdalen at the Feet of Christ.' In St. Michael, there is the ' Immaculate Conception ' In St. James's church is a fine picture of the St. Joseph.' His most admired work is in the chapel of the Convent of the Black Nuns, represent- ing Sisters of that Order administering succour to a group of figures afflicted with the Plague. It is an admirable picture, in drawing and colouring approaching the excellence of Van Dyck. He died at Ghent in 1716.
 * Assumption,' and in the galleiy the 'Crowning of

CLEEF, JoosT van, called Zotte Cleef (Mad Cleef), was bom at Antwerp about the year 1520, and was instructed in painting b)' his father, Willera van Cleef, the elder. Joost was an excellent colourist ; and though it does not ap- pear that he ever was in Italy, his picti:re3 are composed and designed more in the style of the Itali.in than the Flemish school. He painted some altar-pieces for the churches in Flanders, which were so much praised that he became intoxicated with conceit. Van Cleef came to England in 1554, with the confident hope of brilliant success, and was introduced to King Philip by his countryman, Sir Antonio Moro. But, unfortunately for his expectations, some of the fine pictures of Titian had arrived before him, and Philip was too much charmed with the beauties of the Venetian to do justice to the undoubted merit of the Fleming. Finding his prospects thus blasted, be became furious, and vented his rage on Moro as the cause of his disgrace. In the catalogue of the pictures of James IL appear two by Van Cleef, 'The Nativity' and 'The Judgment of Paris.' His death occurred probably about 15.56, for he is said to hav? died at the age of 36. There is much confusion in the records of the artists of this name. Hendrik, Marten, and Willem were brothers, and were contemporaries of Joost, but there is no absolute proof that they were related to him. Althorp. Earl Spencer. His own Portrait. Antwerp. Cathedral. St. Cosmo and St. Damian. Berlin. Gallery. Portrait of a young man. Windsor. Castle. The Artist and his Wife.

CLEEF, Marten van, was a brother of Hen- drik van Cleef, and a disciple of Frans Floris. He painted historical subjects, and was employed for some of the churches, but was more esteemed for historical pictures of an easel size, in which the landscapes and backgrounds were painted by his brother Hendrik. He is called the ' Master of the ."^pe,' because he sometimes introduced the figure of an ape (in allusion to his name) as his mark. In the Belvedere at Vienna is a painting by him of ' Men, Women and Children, seated at table in a farm-house.' He became a member of the Guild of St. Luke at Antwerp in 1551, and died about 1570.

CLEEF, Willem van, who was also a brother of Hendrik van Cleef, was received into the Guild of St. Luke at Antwerp in 1550. It is thought that he may have studied under Floris. He painted figure subjects, and died young.

CLEIN, Feanz. See Cletn.

CLEIN, Hans, an engraver on copper and wood, as well as a goldsmith, was a native of Nuremberg, where he died in 1550. The only engraving by him mentioned by Passavant (' Peintre-Giaveur,' iii. 38.) is a ' Battle of eleven Naked Men,' after the Master IB., dated 1527. The woodcuts which are known to be by him are :

St. John the Baptist preaching in the Desert. An Apostle preaching from a Ship. The Betrayal of Christ. The Battle of Naked Men. 1524. (After the Master IB.)

CLEMENS, JoHAN Frederik, a Danish line- engraver, born at Golnau near Stettin in 1749, studied painting in the Copenhagen Academy under Mandelberg, and engraving under J. M. Preisler, and then in Paris under Wille and Delaunay. He visited Berlin and London : but worked after 1795 in Copenhagen, where he died in 1831. His best plate is the ' Death of General Montgomery at the Battle of Quebec,' after Tnimbull, engraved in London in 1792. Besides this he engraved ' Fred- erick the Great with his Generals,' after Cunning- ham, a ' Holy Family,' after Taraval, and a number of portraits.

His first wife, Marie Jeanne Crevoisier, to whom he was married in 1781, was also an artist. She was born in Paris in 1755, and worked at first in pastels, but afterwards studied engraving. She died at Berlin in 1790 or 1791.

CLEMENT, F^lis Augdste, was bom at Dou-